Train Again 2021

Peter Tscherkassky condenses the long history of railways in the movies into a rousing blast for the senses in a heartfelt tribute to another legend of experimental cinema Kurt Kren.

Cinema Austria, the first 112 Years 2020

This historical and analytical documentary draws attention to the background of the roots of "New Austrian Cinema" and presents Austria as a film country to be taken seriously. The audience gets to see rare early works by well-known filmmakers as well as shots of landscapes that served as a source of inspiration and locations that have produced important Austrian films since the end of the 19th century.

Une certaine histoire du cinéma expérimental français 2019

Nocturne 2006

Wolfgang Amadeus Mozart, according to his biographers (and his letters confirm this fact), was an extremely sensuous person, and Nachtstück (Nocturne) was intended to refer to this aspect of his personality: We glide into "Eine kleine Nachtmusik" a bit, then abandon standardized paths of conventional representational film and encounter a few seconds of passionate sensory filmæan example of something I would like to call "physical cinema." The thesis: Herr Mozart would have enjoyed it.

The Mozart Minute 2006

Twenty-eight well-known filmmakers living and working in Austria were invited by WIENER MOZARTJAHR 2006, to produce associative miniatures on Mozart. Requirement: they had to be one-minute artistic short films. The directors come from a whole range of different backgrounds, ranging from animated, experimental and short film to documentaries and feature films. The result is a multi-facetted sampler of diverse formal and contextual positions with regard to Mozart’s person and his influence on today’s society, art and culture. The contributions run the gamut from experimental-conceptual statements through socio-critical and documentary observations to pithy short feature films.

Dream Work 2001

A woman goes to bed, falls asleep, and begins to dream. This dream takes her to a landscape of light and shadow, evoked in a form only possible through classic cinematography. An homage to Man Ray, dedicated to the beginning of the European avant-garde film within the surrealist movement.

The Arrival 1999

The first of Peter Tscherkassky's Cinemascope trilogy of short films is a fragmented glimpse of images pulsating with chaotic rhythm as they fight white margins for room in his palette. Mirrored frames being split by white margin and trying to reassemble again like the poles of a magnet, a train approaching station and colliding with itself in white-hot blistering chaos.

Get Ready 1999

A propulsively jittering journey through the cinematic imaginary using glitchy found footage and jacked-up cyber sounds, Get Ready hits the highway hard and takes us with it. A car crash? An escape? This turbo-charged condensation of cinematic moods and tropes makes much of its tiny run-time.

Outer Space 1999

A young woman move towards a house that holds a potentially dangerous spirit that has been tormenting her. The woman tries to fight against the film itself as it starts to cause the world to collapse.

Manufractur 1985

A tangled network woven with tiny particles of movements broken out of found footage and compiled anew: the elements of the "to the left, to the right, back and forth" grammar of narrative space, discharged from all semantic burden. What remains is a self-sufficient swarm of splinters, fleeting vectors of lost direction, furrowed with the traces of the manual process of production.

Motion Picture (Employees Leaving the Lumière Factory) 1984

In the darkroom, 50 unexposed film strips were laid across a surface, upon which a frame of "La sortie des ouvrier de l'usine Lumière" was projected. The stringing together of the individual developed sections make up the new film, which reads the original frame like a page from a musical score: within the strips from top to bottom and sequentially from left to right.

Holiday Film 1983

A woman on a meadow, strolling around, narcisstically involved, wandering. Now and again one can see her breasts through her half-opened shirt. The camera films with a powerful telephoto lens. This idyll is radically destroyed when the woman suddenly looks directly into the camera. There is an immediate cut (the voyeur has been discovered) and the whole sequence of events begins from the beginning again, but each time re-filmed from the last till finally, only a completely abstract, flickering picture remains.